I am sad to announce that Philip R. Evans passed away on July 23, 1999
at 10 p.m., at his home in Bakersfield, California. His wife Linda was
at his side when Phil suffered a massive heart attack. Phil was born
on June 1, 1935. His parents were Lucia Langan and Roland Evans. Roland
was a professional jazz musician who knew many of the important jazz players
from the 1920's and 30's. So when Phil became interested in Bix and started
collecting his recordings and information about his life, Roland introduced
Phil to jazz musicians associated with Bix. Thus, starting in the 1950's,
Phil amassed thousands of documents - transcripts of phone and of personal
interviews, letters, articles, books - related to Bix. As a result of Phil's
personal interactions with many of the Whiteman musicians, his unwavering
dedication in his quest to learn about Bix's music and life, and his evident
sincerity, Phil was named an honorary member of the Paul Whiteman Orchestra
and attended the annual reunions of the musicians. The fruits of Phil's
research about Bix can be seen in three magnificent books authored or co-authored
by Phil. They are, in chronological order, "Bix: Man and Legend",
by Richard Sudhalter and Philip Evans, with William Dean-Myatt, Arlington
House Publishers, New Rochelle, New York, 1974; "Tram, The Frank
Trumbauer Story" by Philip R. Evans and Larry F. Kiner, with William
Trumbauer, The Scarecrow Press, Inc., Metuchen, N. J., 1994; and "Bix:
The Leon Bix Beiderbecke Story" by Philip R. Evans and Linda K.
Evans, Prelike Press, Bakersfield, California, 1998. The books are replete
with detailed information about their subjects, are extremely well-documented,
and represent the highest level of scholarship. Each book, in its own way,
is a masterpiece. Phil has also co-authored books about Red Nichols
and Al Jolson. Phil Evans has
been described as a prominent jazz scholar, and a respected jazz historian.
Of course, he is all of that; but in addition, he has been the most dedicated
Bixophile the world has ever known, as witness the fact that he devoted
almost fifty years of his life to learning about the life and music of
Bix Beiderbecke. All Bixophiles owe Phil a great debt of gratitude for
sharing with us his knowledge and understanding of Bix Beiderbecke. On
behalf of Bixophiles from all around the world, I salute him with respect
and admiration.

Condolences can be sent to Linda Evans at
leonbix@juno.com or at P.O. Box 10507, Bakersfield, CA 93389-0507

Albert Haim, July 24, 1999

Note: On July 28, 1999, the New Wolverine Orchestra dedicated the stage
show "The Story of Bix" to the memory of Phil Evans.

Chris Beiderbecke, Bix's grand
nephew, writes on July 26, 1999: I am extremely
grateful for Phil Evans. I first became aware of him manyyears ago when he published the
first of his biographies of my great-uncleBix. I heard stories of his meticulous
research, and the huge volume ofresearch materials he had amassed.
I was told that he'd had to actually buildan addition to house it all. Over the
years, there have been many projects revolving around Bixthat have come and gone. There
were the movies, the books, and many othermerchandising and marketing efforts.
They ranged from the sublime to theridiculous, skewing towards the
ridiculous. And accuracy was always at thevery bottom of the priority lists
of most of these efforts. No one that I'vebeen aware of has approached the
subject and person of Bix Beiderbecke withmore
dedication to doing the painstaking, long, frustrating, and verydifficult, hard work that getting
it right requires than Phil, and getting itright was Phil's passion. Phil's
approach was impeccable. He researched and wrote as a scholarwould. Dedicated to finding verifiable
facts, disregarding things that mighthave made good copy, or that had
been told and retold so often that they hadbecome regarded as facts, reporting
the truth only after exhaustive research. I'm grateful
to Phil for spending so many years in this often unsung andunrewarded effort. His latest effort
will stand for all time as thedefinitive volume on Bix, and should
serve to strike down many of thefallacies that have sprung up over
the years around Bix's life. The beauty
in what Phil has done is that through seemingly dry researchand doing away with embellishments
and personal opinion, and refusing to bow to the urge to over dramatize
an already dramatic life, he actually revealed Bix the young man and shooting
star in a more personal way than any before him had done in any medium.
And all without the use of "dramatic license." If not
for Phil and his wife Linda, I would have spent my life justwishing that someone would do what
he has done, and feeling bad knowing that I certainly would not have the
patience and perseverance that he had for the task, and lamenting that
no one had searched out, sorted through, verified,and
laid down the facts of my great-uncle's life in a definitive way. We allwould have had to rely on other
works and various short biographical sketchesthat
repeated falsehoods and the author's bias. Bix deserved
Phil. Phil did well by Bix, and I'm sure that like myselfand countless others, Bix is grateful
for Phil Evans.

Marian McPartland, jazz pianist,
Port Washington, NY, writes on August 1, 1999: I never had
the pleasure of meeting Phil Evans, but we had many conversations about
Bix and my husband, Jimmy McPartland, who replaced Bix in the Wolverines.
Phil was a very charming and interesting man to talk to, and I read and
enjoyed several of his books, namely, "Bix: Man and Legend" (in collaboration
with Richard Sudhalter), "Tram, The Frank Trumbauer Story" [in collaboration
with Larry Kiner, ed.], and "Bix: The Leon Bix Beiderbeke Story"
[in collaboration with Linda Evans, ed.]. I found these books to
be tremendously interesting and informative. Phil Evans was undoubtedly
a great jazz scholar, and he will be sorely missed.

Frank Manera, Bixophile, Providence,
RI, writes on August 3, 1999: As a noted scholar of Bix Beiderbecke
and researcher/author of other greatAmerican jazz giants, Phil Evans had outstanding merit
for the detailand meticulousness of research in his extraordinary contributions. Upon visiting with Phil at his home
in Bakersfield, California this pastMay, I've had the privilege to read an innumerable amount
of letters Phil hadamassed since the mid-1950's. Some of these letters were
from LouisArmstrong, Hoagy Carmichael, Paul Mertz, Roy Bargy and
C.B. Beiderbecke. Phil personally knew and was friends with many of the
musicians Bix knew and worked with, namely, Red Nichols, Jack Teagarden,
Bill Rank, Roy Bargy, Paul Mertz, and Hoagy Carmichael. Phil made contact
with a lot of these guys through his friend, the late bass-saxist Joe Rushton.
One contact led to another. Phil was indeed close to these guys who loved
him like a son. They were all extremely generous and helpful to him as
he would ask them questions for information in his research on Bix. As the years passed on and these guys
left us one by one, Phil took their passing as if he had lost a family
member. Phil had told me so many interesting stories about these musicians
during my visit with him and through many letters and phone conversations.
Phil loved to talk of these guys and how helpful they were to him.He would
always express his deepest gratitude for their kindness shown to him in
his quest for information about Bix. Phil (like Bix) was an avid sports
fan. He would love to watch the ball games on television. Always a caring and concerned man,
Phil saved a Parochial school inBakersfield, California from being closed down by leading
a project throughthe efforts of volunteers in this mission, while at the
time working in afull time capacity for the U.S.Government. I recall when we first met in Davenport,
Iowa in 1998 how patient he was in answering all my questions about Bix.
We talked for many hours. That is how our friendship began. Phil had spent
his life in total dedication of Bix and would continue to search for any
new information he could find. He was willing to share his information
with those who were interested in Bix. On the morning of July 24th, 1999,
I received the saddest of news from Phil's wife Linda. She informed me
that on the night before, at 10:00 PM Phil had a massive heart attack.We
lost him. My mail of that sad day included a letter from Phil which
he sent off to me a few days earlier. Phil deserves a special place in history
for his outstanding contributions. Ifeel proud and honored to have known him. I'll always
cherish with thefondest of memories the warm friendship I have shared
with such a wonderfulperson as Phil Evans.

Scott Black, jazz cornetist,
CT, writes on August 5, 1999: Back in the late 70's, while talking
to Vince Giordano about Bix, he said,"Do you know Phil Evans?" I said no, just from the book.
So he gave me Phil's phone number and said to give him a call, that he
is a swell guy, and loves to talk to people who are sincere about Bix.
That first phone call became the start of a 20+ year friendship that lasted
to the end. I still can't believehe is gone, that I can't pick up the phone, and spend
two hours with the mostsincere and honest researcher of jazz, and of Bix. Phil sought one thing, the TRUTH about
Bix. The Beiderbecke horn, and his concept of music, is something that
affects people in strange ways. It was a different direction and style
of music he created that caused such a musicalwake, that many people spent the rest of their lives
trying to figure it out.When Bix died, he took it with him. For years fans and
would be writerspestered his friends and family to the point that they
clammed up. That'swhere the writers with the fantasy stories came about,
dumping more mud onthe truth about Bix. Phil was able to win the friendship and
trust of the musicians and familyof Bix, because they realized that his love for Bix was
honest, and that hewasn't trying for the Book Of The Month Club. He told
me that at the firstWhiteman reunion party that he was invited to, the boys
were a bit wary about him, here he was with a 50lb tape recorder, feeling
quite uneasy. He said Roy Bargy came up to him and said, "What did Bix
drink?" Phil said, "Gin." Roy said, "Great, what do you want to know?
How can I help you?" The ice was broken, and from then on, the Whiteman
boys were happy to help Phil with whatever information he needed. They
gave him pictures, diaries, letters, clippings, interviews so the legacy
of Bix, good or bad, would be judged by the truth. For a while in the early 80's I taped our
phone calls, with his permissionof course, because he would tell me so many things, and
answer so manyquestions, with so many details about Bix, it was almost
impossible to digestit all. These tapes and the 150+ letters from him over
the years would make agreat book in itself. I, along with many others, tried
to get him to write abook about trying to write a book about Bix. The trouble
he had is wellknown, and no need to go into it here, except to say
that it is part of whatcaused his death. He was a very generous man who was too happy
to share his knowledge with people who loved Bix. Many did him wrong. He
didn't want to do the last book on Bix, it took years to persuade him to
get the story down once and for all. Thank God he did. It's a tribute to
Bix, and to Phil, and to all of thosejazz greats to have their words, as they said them, in
the context that theywere said. The story about Bix is done. The lies have
been swept away,leaving a clear look at a young man who changed the way
many people thought about music. A story that, if made into a real movie,
using the FACTS, could be a masterpiece. Phil would call on his friends from
time to time for some help to tracksomething for him. These quests were some of the best
times I've ever had in a library. His excitement over finding something
new was very contagious, and we all loved to help out if we could. Being
a musician on the road, I would head for the libraries and look up dates
for him, reviews, etc. It was like putting together a big puzzle while
going on a treasure hunt. I can't tellyou how much I will miss that, it made the road a whole
lot easier to take. Enough can't be said for Linda, she was
his rock. She looked out for Phillike a pit bull, and helped to keep the vultures from
taking advantage of hissweet nature. He would always praise her, telling me,
"I don't know what Iwould do without her." She was his eyes and ears when
he was sick, andkept his flame burning. His friends, and there are many
of us, are there tohelp her keep Phil's memory and his work alive. If she's
the pit bull, we are the puppies. Take care my friend, say hi to Bix for us.

Vince Giordano, jazz musician,
archivist, collector writes on August 6, 1999:Thanks for writing the nice piece
on Phil Evans. A real nice man who did a superhuman job getting all those
facts and books out there for us to enjoy. May he rest in peace.

Don Ingle, jazz musician (Sons
of Bix Jazzband) writes on December 27, 1999:I was among
the forunate people to have had a father, Red Ingle, who notonly knew Bix but worked with him
in various Goldkette units in Detroit,including the Victor Band. Growing up among
musicians, and hearing the legends of Bix from othersmade me more than aware of him,
but it took my dad's playing of a recording by Bix, "Clementine", to electrify
me. Having been playing clarinet for a few years (dad being a reed man),
that exposure to the sound of his horn made me throw the clarinet idea
aside and acquire a cornet, with which I was able to make my lving for
many years after. The point of
this is that, in the course of this personal journey, I metPhil Evans. He had already contacted
my dad for information on Bixfrom his time, and when I met Phil,
he was even more a source ofinformation for me to glean in
our few short meetings. It was later, when he was doing his first book
on Bix that I was able to repay his kindnessby supplying several photos for
his book, the shot of Bix and dad and oneof Bixian cornetist Este n Spurrier. Needless to
say, the news of Phil's death hit this family hard. He wasalready in poor health but a good
heart just couldn't keep the beat,and we lost a great friend. I was grateful
to Scott Black and Linda for their passing on the news,and I join the many friends of
Phil in mourning his passing. But what awonderful legacy he has left us
in his work. It has been
said that man gains immortality only through the memories ofothers. That being true, it means
that Phil has joined the immortalsthat he wrote so faithfully about.

Spiegle Willcox passed away on Thursday,
August 26, 1999, at his home in Cincinnatus, New York. He was buried at
Cortland Rural Cemetery on Saturday, August 28, 1999. Spiegle was the last
surviving member of the Jean Goldkette Orchestra. Newell ("Spiegle") Willcox was born
on May 2, 1903, in Sherburne, New York.
Spiegle began to play professionally in the Syracuse area just after World
War I. In 1922 he was in Ithaca with "The Big Four" (really a group of
eight) when Paul Whiteman discovered the band and renamed it "The Collegians".
Spiegle's first recording was "That Red-Head Gal" (New York, March 23,
1923, Vic 19049). Spiegle stayed with the Whiteman organization until early
1925. He then returned to Cortland and joined his coal family's firm for
a short period. During the summer of 1925, Spiegle
was playing in a dance hall in Auburn's Owasco Lake. Fred "Fuzzy" Farrar,
a trumpet player for the Jean Goldkette Orchestra, was vacationing in the
area and told Spiegle that Tommy Dorsey was quitting the Goldkette band
and a replacement was needed. Spiegle joined the Jean Goldkette Victor
Recording Orchestra in October 1925. In May 1926, Bix and Frank Trumbauer
joined the Goldkette band. When Goldkette's Victor Recording band was dismantled
in 1927, Spiegle returned to the coal family business for several decades. In the 1970's, Joe Venuti asked Spiegle
to go to Europe with him to play at several venues. Thus, when he was in
his seventies, at a time when most people retire to live a quiet life,
Spiegle started his phenomenal second career as a professional musician.
Spiegle played with jazz bands at festivals, recorded CD's (his first recording
was an acoustic 78!), started singing, told stories, cracked jokes. Hemade
yearly appearances at the Bix Beiderbecke Memorial Jazz Festival. His last
appearance in Davenport was just a few weeks ago.After playing a number
at Bix's graveside, Spiegle turned toward Bix's grave stone and asked "How
am I doing, Bix?" For years, Spiegle participated in several jazz festivals
in Europe, where he was idolized. Just a little over a month ago, on
June 30, 1999, Spiegle was a special guest with Lino Patruno & the
"Red Pellini Gang" in a "Tribute to Bix Beiderbecke" at the Ascona
Jazz Festival.Spiegle was not only a great trombone
player, but also a gentleman and a classy individual. One example will
suffice. At the last Bix Festival, Rickey Bauchelle, the daughter of Doc
Ryker, was introduced to Spiegle. At the concert on Saturday morning at
Bix graveside, Spiegle, in turn, introduced Rickey to the audience and,
especially for her, reminisced about the Goldkette days with Ryker, Bix,
and Tram. Clearly, Spiegle was a thoughtful and considerate man. He will
be sorely missed.

Albert Haim, August 28, 1999.

Letters of condolence may be sent to Cynthia Willcox German Rd,
Cincinnatus, NY 13040

When asked what people could do to show their appreciation
of Spiegle, Cynthia (Spiegle's daughter) mentioned two non-profit organizations:

The Spiegle Wilcox Music Scholarship Fund S.U.N.Y at Cortland, New York 13045

Spiegle Willcox and Hans Eekhoff have written a fascinating
and informative article entitled "Goldkette and All That Jazz" in the September
1994 issue of Storyville.

Please send your expressions of regret and I will post
them here.

Hans Eekhoff (musician from the Netherlands and serious
Bixophile) wrote on August 28, 1999. Spiegle will be immensely missed,
but what a rich life! He was at my house only last month and we played
78's the whole afternoon. A week later, he played with my band in Germany
and I tell you he was truly great! Not just great for a 96-year old guy
but simply great. Period. Today he'll be buried, and in my thoughts
I'll be there to say goodbye. Itwas a privilege to have known this great, gentle man.Addendum January 24, 2000. Here is a picture of
Spiegle, taken at my home on July 10th 1999 during an afternoon of record
playing. He's holding Victor 20471 "Hoosier Sweetheart" which he considered
to be his best Goldkette
recording. Two weeks later he played with my band at the Rheingauer Jazz
Festival in Germany and he felt fit and played great.On July 18th Spiegle, Cynthia, the guys in my band and
a few more Germanfriends had a wonderful summer evening dinner on a terrace
overlooking theRhein which I will never forget. It was the last time
I saw him but the memory of it all, having known him for 23 years (literally
half my life), more than compensates for my sadness over his loss. Spiegle
was one of the finest gentlemen to walk this earth and I sincerely loved
him. I thought you might like to share these inner thoughts.

Alann Krivor (grandnephew of Jean Goldkette) wrote
on August 28, 1999. We'll all miss his music, humor, andbright
intelligence. Spiegle definitely gave all of us something to livefor. I feel very complete that I got to share several
moments of his longlife. Here's to Spiegle..........Hip, hip, HURRAH!!!

Trevor Rippingale (jazz musician of The New Wolverine
Orchestra and Bixophile par excellence) wrote on August 30, 1999.
What a very gracious pair Spiegle and his devoted
daughter, Cynthia. Both are role-models for us all aswe
grow older. And what wonderful retention of personal and musical skills
solate in life! trombonist, raconteur, comedian,
compere, vocalist and great human being. It was a joy to be with them both
at all times. I first met them both and played with Spiegle in 1994 at
"Oestrich-Winkel"a little wine town in Germany, then subsequently at the
Bix Festival, Davenport, in 1996 and 1998. Right from the first contact,
he greeted us with bear hugs and they both made us feel like close personal
friends or even relatives, for which we'll be forever grateful. On that
first night we met in Germany he said: "I was told you boys play Bix, and
we just had to come and hear you". He and Cynthia immediately joined our
band party, stayed with us all through the night and he sat in for a set
with us, tromboning and singing: wonderful ! It was our first direct contact
with Spiegle and through him, with Bix. We'll treasure the audio and video
tapes we have of him playing with us, as I'm sure all the other bands he
graced and encouraged, will also do. I've
learnt many things from Spiegle: not only graciousness in ageing and living
for music, but also musical professionalism, and particularly stage craft
and presentation skills : and to retain them all at such a high level ofcompetence at such an age, is almost unbelievable. I remember
asking Spiegle what he thought of Bix, and he said: "Trevor, Bix should
have done what I did." (What's that, Spiegle?) "After each gig he should
have packed his horn in his case and gone right on home!"

Frank Manera (Bixophile from Rhode Island) wrote on
August 31, 1999. It was a thrill meeting Spiegle onevery
occasion and listening to him play his trombone. He had suchexuberance!
He spread so much cheer! The guy actually knew Bix. He'll bedeeply
missed by all Bixophiles and jazz fans alike. Spiegle has now beenreunited
with the entire Goldkette Band.

Lino Patruno (jazz musician and Bixophile extraordinaire)
wrote from Italy (received August 31, 1999).Dear Spiegle,now You will ride forever in the skies of legend, together
with Bix, Joe Venuti, Eddie Lang, and all the boys from the Goldkette Band.We will remember You everytime we play or listen to "My
Pretty Girl", "Idolizing", I'm Looking Over...".You have been one of the most beautiful and joyous realities
of this less than happy end to the century.We will miss You very much!Lino PatrunoRomano MussoliniOscar KleinKarl Heinz ErnBruno LonghiRed Pellini GangGuido PistocchiClive RicheEnrico BorsettiGiuliano Fournierand all the Italian jazz musicians that knew and played
with You.

Roma, August 30,1999

John C. Bayer (trombone player and music teacher) wrote
on September 10, 1999.About 1974, during
my college years, a couple of trombonist friends and Ihad
the wonderful opportunity to meet, visit, and play our horns for Spiegle
and his late wife Helen in their Cincinnatus home. The Willcox's
were so warm and friendly. I remember Spiegle listened to us appreciatively
which he followed by words of encouragement. At the time I had little
interest in jazz music and I did not fully appreciate those moments we
had with you, Spiegle. Now, as I'm much older and play mostly jazz,
I thank you for those words of encouragement when I was a kid. I
do keep on playing and when I get discouraged, I listen to YOUR music which
will cheer up anyone. I am so thankful for those recordings!!
jazz certainly did "keep you young."

Michael May (middle school band director)) wrote on
September 13, 1999.In March of '96, I wrote Spiegle to
tell him that the Collegians' recording of"That Red Head Gal" was to be played at my wedding reception
(my beloved Mindy is a beautiful redhead!) He wrote back, with information
about his own wedding, and he answered some questions about trombones I
had asked, too. He also thought it neat that someone was still listening
to the Collegians! Spiegle concluded the letter by inviting me to
visit him. I visited Spiegle and Cynthia the
following summer, and I really enjoyed my time with them. We played
trombone duets, and I asked him about his career. Spiegle help to solve
two mysteries for me. One involved the picture of the Goldkette band,
in which all of the band members are sitting on top of the bus, and bassist
Steve Brown is holding a gun! Spiegle laughed when I asked him about
this, and told me that earlier that day, both he and Brown went to a novelty
shop and bought the "guns," which were cigarette lighters. Another mystery involved record speeds.
Spiegle asked me if I knew any of his soloes. I began to play his
solo on "Hoosier Sweetheart." When I finished, he told me it was
good, but it was wrong. Apparently, I had played it one half step
too high! The first three notes of his solo are D, D, and A: to "get" these
three notes on the original Victor record, it must be played at 77 rpm. I enjoyed my subsequent phone conversations
with Spiegle, and will miss talking with and spending time with him.